A pair of George II giltwood console tables circa 1755

with later marble tops.

Marble tops later and with minor scratches and wear; the tables are in good condition and re-gilded with a nice color to the gilding; some very minor chips to gilding at extremities; the tables are sturdy and with nice proportions and carving.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present tables with their bold carving and robust design bear similarities to the designs and work of Matthias Lock (b. c. 1710-d. 1765).  During the 1740s Lock embarked on a new facet of his career issuing a series of engraved plates illustrating carver's ornament in the French taste, the first of these issued in 1740 being A New Drawing Book of Ornaments, Shields, Compartments, Masks &c., this being followed in 1744 by Six Sconces and in 1746 by Six Tables.  A number of these were re-issued in the 1760s, and in 1752 he published a number of designs in collaboration with H. Copland.

Similar manuscript drawings for the present tables are included in two folio volumes of drawings which were acquired by the Victoria and Albert Museum in 1862 and 1863 from his grandson George Lock. Largely unpublished, they include many original compositions and others which are closely related to the published work of Thomas Chippendale and to Ince and Mayhew seen in their designs for ‘Slab Frames’, illustrated in their pattern book: The Universal System of Household Furniture, published in 1762, plates LXXIII and LXXIV. (fig. 2)

Two designs from Six Tables, 1746, (fig. 2) and several drawings from the Lock Album contain carved elements found on the present table. These include: the C-scroll and cabochon carving to the heads of the legs, the conjoined C-scroll apron (Six Tables, plate 9), the central cartouche made up of C-scrolls surrounded by ruffled flamework (Lock Album, no. 108), the large acanthus spray to the central cartouche (Lock Album, no. 2584), and the foliate scrolled feet which scroll inwards (Lock Album, no. 2584).  The pierced rocaille and flamework to the frieze is found in almost all of the table designs.

Matthias Lock is recorded as one of a number of joiners and carvers bearing the same name and probably members of the same family which appears to span three or more generations. After being apprenticed to his father, also Matthias, a joiner in the parish of St. Paul's, Shadwell in London, and to Richard Goldsaddle, a carver in the Parish of St. Martin's-in-the-Fields, he appears to have become a journeyman in his own right in 1731. Other than his recorded marriage to a Mary Lee in 1734, no other documents appear to survive regarding his career until 1744 when his name appears in Thomas Johnson's The Life of the Author. Johnson (b. c. 1714-c. 1778) was an eminent carver, gilder and designer who, in 1744, was employed in the workshop of Thomas Whittle, the London carver and gilder. It is obvious from Johnson's memoirs that Lock was also employed by Whittle at that time, describing him as 'the famous Matthias Lock, the most excellent carver, and reputed to be the best Ornament draughts-man in Europe'. It is further apparent that Lock had been employed in Whittle's workshop for some years and that he held an influential position within it. Lock obviously became Johnson's mentor, lending him his drawings to copy and furthering his skills as a craftsman, designer and draughtsman. Although Lock's association with Whittle and his partner Samuel Norman seems to have continued until at least 1755, Johnson does note that he had 'greatly declined in his health, so that he did not attend the shop so much as their business required'.  While his precise role with Whittle's firm still remains unclear, his parallel career as an independent contractor is equally not fully documented, although Christopher Gilbert believes that he did work in this capacity for Thomas Chippendale.

The form of the legs is very similar to a mahogany altar table by William and Richard Gomm made for Stoneleigh Abbey, circa 1764; the robust carving also bears similarity to a pair of tables which were at Lowther Castle, Westmorland before 1947 and sold in these rooms, Property from a Private Collection, October 28-29, 1988, lot 474 ($480,000) and a table from the collection of the Earl of Wilton, formerly at Ditchley Park, sold in the same aforementioned sale, lot 476 ($190,000), another smaller table with very similar feet and legs sold at Christie's, New York, October 21, 1999, lot 218 ($66,000); another table with similar legs sold at Sotheby's, London, John Keil, Furniture from 154 Brompton Road, April 7, 1998, lot 25.  Furthermore it is worth comparing the carving of these tables to the carving and form of a pair of wall brackets attributed to Lock and sold at Christie's, New York, Property from the Collection of Mr. and Mrs. Alexander Saunderson, April 15, 2005, lot 200.